Montiel personified particularly in her later chat-show-celebrity-magazine incarnation the superficiality of pop culture, yet that very superficiality may have been the key not only to her commercial success but to her importance to Spanish society, particularly in the 1960s. Montiel articulated a kitsch but optimistic and obliquely subversive descant to the sombre music of official Spain.

The title of the memoir she published in 2000, To Live Is a Pleasure, sums up the commendably intrepid and upbeat philosophy of a woman born without many advantages in a country plagued by poverty, intolerance and violent class division. Sara and Sex, her second book, published at the age of 75, testifies to a refreshingly frank engagement with reality.

Montiel shot to fame first in Mexico where she made hugely popular films in the early 1950s, and then in Hollywood, acting opposite Gary Cooper and Burt Lancaster, among others, before returning to Spain to shoot the runaway success, El ltimo Cupl in 1957, which propelled her to domestic superstardom.

She remained resolutely mainstream even though her private life at the height of her fame was at odds with the official morality of the day. Some might dismiss this as a dismal and inevitable example of the hypocrisy that riddled a ferociously puritanical society. Others would argue, however, that Montiels conformity was more interestingly anarchic.

With a seductive raising of the eyebrows she alluded, confidently if conspiratorially, to that vast undercurrent of everyday experience that wasnt supposed to exist.

If Montiel showed the artistic possibilities of testing narrow cultural boundaries, Bigas Luna explored the possibilities and contradictions of a period in which social and political freedom had already expanded exponentially.

Jamn Jamn, which brought the director along with Javier Bardem and Penlope Cruz international recognition in 1992, stands up today as an enduringly funny and pertinent comedy which, among other things, took the whole concept of a food fight to a new and extremely bizarre level.

Bigas Lunas preoccupations with sex and food, like Montiels extravagant escapism, say a great deal about Spain. When the rest of the world discovered sex in the 1960s and 70s, it was just sex. When Spains turn came, a decade after everyone else, sex wasnt simply discovered: it was rediscovered, and it was found to be woven into the fabric of culture, history, art, and politics.

Jamn Jamn and Bigas Lunas other works are entertainingly emblematic of this quintessentially Spanish compulsion to inject meaning into all manner of things. It takes a particular kind of genius to celebrate the philosophical subtext of nude bullfighting, and Bigas Luna had that sort of genius.

Mlagas most famous son complained at the end of his long life about the burden of celebrity, which obliged him, he said, to live in almost monastic seclusion.

All artists crave company kindred spirits who sympathise with the work and whose quirks and foibles sometimes go into the work. This solidarity of the soul like a well-choreographed dance number or a naked corrida is the sort of thing that can make life bearable in even the most challenging of times.